Across the country, a substantial number of academic musical archives are dedicated to folk, world, country, bluegrass, classical and other musical genres, while other popular forms – namely punk, hardcore, indie and rock – are left out of the mix.
Aiming to correct this imbalance, UofL’s Louisville Underground Music Archive (LUMA) was established in 2013 to preserve recordings, photographs, videos, ‘zines, set lists, fan mail, and other artifacts of the Louisville underground music scene from the late 1970s until the present.
Not only does LUMA not consider these musical genres to be chopped liver, it recently pursued and was given a grant of $1,800 by the Kentucky Oral History Commission (KOHC), allowing LUMA to add oral histories – interviews with individuals from the era – to its collection.
“These oral histories will be an excellent way to round out our collection” said Heather Fox, co-director of the Oral History Center and archivist for manuscript collections with Archives and Special Collections. Eighteen-hundred dollars doesn’t sound like a lot of money, but it makes it possible for us to do this work,” said Fox, who will oversee the project.
Matched by funds from the ASC’s oral history budget, the project will be built with $3,600, most of which will go toward paying local journalist and former punk rocker Chip Nold to conduct interviews with musicians from the era.
Nold is not only an experienced journalist and interviewer, with a degree in history from Princeton, but was also the lead singer for Babylon Dance Band (aka “the Babs”), one of the first punk groups in Louisville, thus “the perfect candidate for the project,” Fox said.
“Chip had experience interviewing people for feature stories, but we made sure to train him on oral history methodology, and then sent him out with a trusty Marantz PMD 660 [a portable compact flash recorder] to get started.”
“The oral history project fills in the gaps of our collection,” she continued. “It lets us discover what it was like to be playing music during that era, and what it felt like to be there then. This is something oral history is great at fleshing out.”
Among the first interview subjects was a local music critic, with other musicians from the scene also on tap.
“LUMA is an effort to document part of Louisville’s culture that might not be documented otherwise. Music has played an important role in cultural life of Louisville and still does, and LUMA is filling in that gap.”
“When we’re collecting artifacts around a music scene, we’re less interested in the published material, because there are multiple copies of that. We’re more interested in finding unique items, like fan mail.”
As an example, LUMA has a collection of fan mail sent to Louisville hardcore band Endpoint. Mail addressed to the band came from fans in Louisville, around the U.S., and even Germany.
“Fan mail demonstrates the impact this music had on this community and in other parts of the country and world. . . .It documents the ways in which people communicated before the internet, which is really neat,” Fox said.
“There is fan mail from Louisville fans just across town to the guys in the band. I doubt that ever happens now. People are on Facebook or other social media and have immediate contact.”
Once completed, Fox will upload them to the digital collections where visitors will be able to search for specific passages within the recordings. Archives and Special Collections will be “integrating a new software that will allow us to index digital oral histories and then provide online access that will include a search box, to make the recording key-word searchable. It’s also time-coded, so you can go to the exact place in the audio to find that passage.”
“Ideally what we want is a full transcription of an interview; that’s the most time consuming thing of the process,” she continued.
Fox has eight years of experience with all aspects of oral history, including recording, transcribing and conducting such interviews. She also provided access to oral histories through her work at the Kentucky Historical Society on the Pass the Word website and at the University of Louisville’s CONTENTdm instance which provides online transcripts and streaming audio.
The LUMA advisory board is comprised of local musicians like Nathan Salsburg, musician and curator of the Alan Lomax Archive; musician and actor Will Oldham; Diane Pecknold, professor of popular culture who has written and edited books about country music (who is married to a member of the Louisville band Squirrel Bait); and other members of the community like John Timmons, owner of celebrated ear X-tacy, an erstwhile record store that employed many active participants in the scene, developed a list of active and well-known musicians in the scene during the early to mid-1980s.
Please browse the LUMA collection and find out more about Archives and Special Collections.
You may have noticed some changes happening on the University of Louisville Libraries website. Last summer we introduced new sites for the Bridwell Art Library and the Dwight Anderson Memorial Music Library along with improved scheduling apps for room reservations and research appointments.
In March we released the new site for Archives & Special Collections.
In the upcoming months we’ll be bringing you new sites for the Kornhauser Health Sciences Library, Ekstrom Library, and the University of Louisville Libraries. Tentative dates for these releases are July 1 for the Kornhauser site and August 1 for the Ekstrom and UofL Libraries sites.
Better Mobile Experience
A driving reason for these changes is the increasing use of mobile devices for accessing all parts of the site. In the previous version of our site the homepages for each library provided limited options in the mobile view. The new version will have the complete content of the site in the mobile version as well as in desktop views.
Currently, our website is split between two systems; when the project is complete the entire site will be located on one system. URLs for the pages on the old system will change. For example, when the Music Library site moved its URL changed from louisville.edu/library/music to library.louisville.edu/music/home.
The content management system (CMS) we are moving to is designed specifically for libraries and provides tools to help us keep links and other content fresh.
By Rachel Howard
Most peer-reviewed academic journals are subscription-based: some require high fees from academic libraries and their institutions, while others charge authors directly if they want to make their content freely available to other scholars and researchers through open access. The University of Louisville recently launched its own open access, peer-reviewed journal, The Journal of Respiratory Infections, using ThinkIR, the University of Louisville’s institutional repository in University Libraries.
Released on January 30, the new journal is one of several open access journals planned for hosting in ThinkIR that will serve the needs of scholars and researchers worldwide regardless of their means and without toll barriers.
Left to right: Rachel Howard, Sarah Frankel, and Jessica Petrey of University Libraries; Dr. Julio Ramirez, Dr. Bill Mattingly, Kimberley Buckner, and Matt Grassman of Division of Infectious Diseases.
Doctors in UofL’s Division of Infectious Diseases approached their Clinical Librarian, Kornhauser Library’s Jessica Petrey, last year about their idea to publish two open access journals: one focused on respiratory infections and the other on refugee and global health. They had thought through the aims and scope of these journals, and identified who within the division and the field they wanted to be involved, but they needed the Libraries’ help with hosting it and providing digital preservation of journal content – a prerequisite to getting it listed in PubMed.
Jessica put them in touch with Rachel Howard, Digital Initiatives Librarian, whose work involves digital preservation as well as open access. As a result of the work of Rachel, Sarah Frankel, the Libraries’ Open Access and Repository Coordinator, Dwayne K. Buttler, the Evelyn G. Schneider Endowed Chair for Scholarly Communication at UofL, and the Scholarly Communication and Data Management Work Group, the Libraries developed policies, procedures, and agreements to support the Division of Infectious Diseases as a pilot project for a new phase of repository development. Jessica expanded her support of the Division by serving as copy editor of the journal.
On January 30, 2017, the Division of Infectious Diseases celebrated the launch of Journal of Respiratory Infections Volume 1, Issue 1, with a party at MedCenterOne. Petrey, Howard, and Frankel were in attendance, where they were warmly thanked by Division of Infectious Diseases Chief Dr. Julio Ramirez.
What are we, the University Libraries, all about? What do we do, and what is our story?
Discover. Create. Succeed.
These three words describe our patrons’ process of interaction with the Libraries. They evoke the wonder and excitement of learning, the reciprocal interaction between finding material and turning it into scholarship, and the projected outcome of having interacted with our invaluable resources, whether printed, digital or human.
The University Libraries are vital to the academic success of the University of Louisville community. Both on campus and online, we are a key resource, teaching students best practices in scholarly research and collaborating with faculty to support their pedagogy. Our rich resources promote academic success. Above all, we help make UofL great.
With an important place in the UofL framework, the Libraries invite students, faculty, staff, alumni and visitors to revisit our facilities and interact with our resources, and our people.
The University Libraries support over 170 fields of study within 12 schools and colleges. Over three million people visit our libraries annually, and millions more access our website at http://www.louisville.edu/library. As members of the Association of Research Libraries (ARL), the University of Louisville Libraries rank among the top 100 academic research libraries in North America.
Visit your University Library to learn more!
UofL Archives and Special Collections will display a portion of its enormous Edgar Rice Burroughs collection July 1, just in time for the release of the new “The Legend of Tarzan” film. Burroughs famously created the original Tarzan character and stories.
The Burroughs collection is the largest in the world, with more than 100,000 items such as first-edition books, fanzines, film stills, scrapbooks and posters, games and other memorabilia from the author’s life and works.
Known as “The Grandfather of American Science Fiction” Burroughs penned 63 novels, 21 short stories and 26 literary sketches. Originally writing for pulp magazines, Burroughs quickly mined a deep vein with his Tarzan character by capitalizing on the stories’ success by allowing merchandisers to create knives, bows and arrows, belt buckles, watches, figurines, candy, bread, pop-ups, coloring books and costumes. Many of these items are part of the collection.
Beginning July 1, to synchronize with the movie’s release, ASC will exhibit editions of “Tarzan” in 37 different languages, to emphasize the worldwide appeal of Burroughs’ iconic character. It will be on the first floor of Ekstrom Library, in the west wing across from the circulation desk, and run until Sept. 2, one day after Burroughs’ birthday.
“What better time to showcase some of this important collection, which means so much to the numerous fans of Burroughs, than at the release of another ‘Tarzan’ movie,” said Carrie Daniels, director of Archives and Special Collections. “Just the fact that this story, with an indelible character at the center, prompts a major movie release shows the longevity and imaginative depth of Burroughs’ original tale.”
Most of the collection was donated and curated by Archives and Special Collections Professor and Curator Emeritus George T. McWhorter, as a tribute to his mother, who taught him to read early in life using Burroughs’ stories. The collection is officially named in her honor.
In addition to the displayed exhibit, all items from the collection are available in Archives and Special Collections Research Room, Ekstrom Library, lower level 17. Anyone with a photo ID may view or research individual items 8 a.m.-5 p.m. Monday-Friday.
For more information, contact Daniels at 502-852-6676 or firstname.lastname@example.org.
In an era when tablets and screens compete to replace printed media, it seems important to understand the pleasures and physical intricacies of books. Two exhibits focused on bookbinding structures, held at UofL’s Archives and Special Collections (ASC) and Bridwell Art libraries, aim to enlighten visitors on these pleasures. The two exhibits, “Under Cover: Five Centuries of Bookbinding” and “Folded Books” feature unique and artful bookbinding methods.
Highlighted in “Under Cover” is the art book set Biblio Tech: Reverse Engineering Historical and Modern Binding Structures with a Focus on Board Attachment, created by book artist Karen Hanmer. This set of model books is designed to be used by students learning new bookbinding structures. Each of the 12 miniature books is only partially completed, allowing the viewer to see the steps taken to sew and glue the final bindings together. To compliment these contemporary samples, several finished books will be shown at the ASC Library.
“We chose to purchase Biblio Tech due to the very instructive nature of each model,” said Bridwell Library Director Sarah Carter. “The set comes with an instruction booklet, which students may use to learn how to sew their own book. Our entire artist’s book collection, with over 300 items, is a teaching collection. That means that students may examine them in person, versus looking at them in a display case.”
The book is a recent gift to the Art Library from Guy and Libbye Montgomery, Libraries donors who greatly value physical books, and who wished to support hands-on study for student learning. Another book presented within the ASC exhibit was conserved through the Montgomerys’ funding is a Little Gidding version of the Book of Common Prayer.
“I’m excited to show Bridwell Library’s new book alongside such beautiful and fascinating specimens from Archives and Special Collections,” Carter continued. “I think that anyone who sees the models side-by-side with a finished example will have a better appreciation for the complexities of bookbinding.”
A companion exhibit, “Folded Books,” will also be on display simultaneously in Bridwell Art Library. The focus is a small selection of artist’s books which use only glue and folded paper, rather than the sewn bindings emphasized in “Under Cover.” Unusual bindings, such as flag books, tunnel books, and ox-plow books, will be on display.
“These book structures are aligned with pop-up books, but professional artists use these structures in their work to convey complex ideas that wouldn’t have the same effect in a more traditional format,” said Carter.
Students and faculty may contact Carter to make an appointment to see additional examples of artist’s books.
Under Cover: Five Centuries of Bookbinding
February 1st through April 30th
Archives and Special Collections Library
Ekstrom Library Lower Level
Folded Books: Selections from Bridwell Art Library’s Artist’s Books Collection
February 1st through April 30th
Bridwell Art Library
Schneider Hall 102
The Archivist’s Eye: African-American Artistry and Community Activism Found in Collector’s ArtifactsPosted: January 18, 2016
By Tom Owen, Archivist for Regional History, Archives and Special Collection
Last September, I returned from vacation to find on my desk chair a file folder of fifteen or so miscellaneous archival items related to African-American history. They had been left there by Donna Woods, the niece of a committed friend of UofL’s Archives and Special Collections, Juanita White, who has been involved in local Black history research for decades. Woods subsequently told me that the materials had been part of a larger cache of historical documents found on a shelf in an upstairs closet of an abandoned house in Louisville’s Russell neighborhood that her father had purchased decades ago. She believed the collection of memorabilia had been assembled by a long-deceased African-American school teacher named Lucille Keene.
A couple of weeks ago I got around to putting my archivist’s eye on what at first blush might be like useless left-behinds found in an empty sock drawer. Should the disparate items be kept or pitched? Just because some items date to the mid-1920s doesn’t automatically mean you keep them. Is the information duplicated elsewhere? Is it relevant to the history of the Louisville area? Do the documents answer questions that future inquirers might ask?
If retained, should the items be kept together as part of a small identifiable collection or dispersed among topical reference files here in our archives? Could I make a better judgment if I knew more about the person who conscientiously clipped articles from newspapers, picked up a funeral leaflet at church, or assembled concert programs over a four decade period? Are there threads of meaning that give deeper purpose to Lucille Keene’s collecting?
The items in the file primarily document performances in Louisville of two classically-trained African-American concert artists, internationally-renowned Roland Hayes and Marian Anderson. Hayes, a native Georgian, actually worked as a waiter at Louisville’s Pendennis Club — a Louisville City Directory confirms he boarded in a West Chestnut Street home in 1911 — long before he hit the big stage. Clearly with both hometown and racial pride, Ms. Keene had kept Hayes’ programs from concerts in our River City in 1925, 1926 and 1961. Marian Anderson’s 1957 and 1959 Louisville concerts are documented with associated news clippings describing the turn-away crowds, the African-American sorority that sponsored her visits and a reception for Anderson in a private home. Finally, there is a 1960 funeral flyer containing a biographical sketch for Eugene S. Clayton, who had been elected to the old Louisville Board of Alderman in 1945 as the first African-American local legislator.
My archivist’s eye saw sufficient evidence that Lucille Keene had stashed away documents that celebrated Louisville-connected African-Americans who made a significant mark in the face of hostile circumstance. Clearly, her effort was worth preserving for future generations but did those few disparate items need to stay together as a Lucille Keene Collection? Led by both the collection’s small size and the fact that the items revealed no details about the life of the collector, I decided that research would be better served if the documents were placed in biographical reference files for Roland Hayes, Marian Anderson and Eugene Clayton that we maintain here in the archives.
Interestingly, after I decided the disposition of the file’s contents, I learned a lot more about Lucille Keene. With the help of Ms. White, an inveterate researcher in African-American history, we determined that Keene was not a teacher after all. In fact, born in 1893, Lucille (Hall) attained only an eighth-grade education and worked as a maid and tobacco factory “stemmer” before her marriage to John Keene, a butler and house man, when she likely became a housewife. From online searching it was determined that the Keenes owned their home in the Russell neighborhood for over fifty years with Lucille dying in 1969 and John in 1983. An even fuller picture of Ms. Keene emerged when I asked our research friend about those items from the closet cache that were distributed—a few at a time—to various schools and archival repositories across the U. S.
Had I known earlier, I would have urged Ms. Woods to keep Ms. Keene’s “archive” together here at UofL in a larger collection bearing her name. In that way, a researcher could quickly ascertain in one place many of Keene’s interests and commitments based on the totality of what she decided to stow away years ago! An online search of the archival finding aid that would be prepared for her papers would turn up documents that were specific to the organizations, institutions, individuals and places she touched.
From a verbal description of those items dispersed elsewhere it appears that John Keene’s income as a butler must have been sufficient for his wife to be fully engaged in the religious and social life of African-American Louisville. Despite her limited education, Lucille was a leader in the women’s movement of her American Baptist Church sometimes traveling to state and national conferences. In addition, she once served as president of her local women’s club affiliated with the Kentucky Association of Colored Women and was honored for her extensive volunteer service to both the Red Cross and the American Cancer Society. Several postcards sent back home chronicle her travels to Chicago, Washington D.C., and New York noting her stops at sites that commemorated African-American achievement. When considered along with those items left on my desk chair, Lucille Keene was a busy Louisville woman who took great pride in the achievements of her race despite hobbling discrimination.
I’m grateful that I was able to put my archivist’s eye on a few things discovered in Ms. Keene’s closet and, with the help of Juanita White, to learn more about her significant community involvement.